VOCALIZACIONES

(1)

Vocalises

6.

Every orhcr pitch is susreined by cne vr.rice parr.

yielding a ii? chcr<i rvhich then resoi'¡es, l'ryL't f+l<¡irn

¡:Ár ¡tr r r¡+vrru

t

licr:p it lighr on

the way down. I-lp in lralf sreps

;rs high as E rnaj,

inrlt alrvavs terl{)rs on tcpi

$iltr

Up rn half stepsl

lr t1{) r* d,¡ tr l¡r sr:l fil ml re

rio

srrl

f;¡ ult tr

drr

(2)

A

t

,

'f¡

A

.

t?

{.

ñt

preron

_rJoycnor

_vocalrses

f)r.

Kevin Meidl,

cor,Juctor

1 1

.

uo

by Hati-step:i

1n

(3)

Bison Men's

Chorus

Vocalises

Universitv

of Manitoba

Dr.

Larry

Patterson. conductor

13 .

5 Tone Deeending

niatonic

{Dowr by Half-Stepsj

at

14.

O.taue Decendins Diatonic

I6,

run"

Chords- Move Up By

Nyoh - ah

Nyoh

- th

Nyoh

15,

rno¿, on

'Doot"-Lisht/Fast

(4)

iiniversai

trVlrrm-ups

{Men, Women, Boys, and

Oirls)

Dr. Bruce

Mc

Innes

Grace Church, New

ycrk

?3

-*'Adagta

think I breathe \

\

"see sing

74'oooooru

(Arv.Ee)

-Cta - ¿r {rr¡ri,, 1,.. JT\ 'See

Start rnen on G below middle C

Change to "Say" a 4th higher Changc

lc

"Saw" a 3rd higher {a}ways with 3 beat piano intro.)

Change syllabies as _-vousee

fir.

I combine the names ol- studenls with an apt

ciesignadon.

eg. Ea-gerEr-ic. Lovely Lucy, Jol-ly, Jack-son, Dap-per Dan_iel, Wii-ey Wilt-ie. Noi-sv Nan-cv. Cool-car Katie. etc.

Other comlrina¡ion.s: Rrxcs

&

Gladiolas Friskies

&

Kliry

Liirer Cr¡ Cook

"

ic.s Yurnl

a

sha Yivaee So lll: t hr

(5)

K

_{lrrt r}

Fc

hr*

i{

¡-l

Fnt r

f)

_H

(!

(}

n

l-¡

lH

H

f

¿

.--r. 1

V

r}

F¡

f¡nr¿

lr¡l

r

w

(?

w

i-r

n

F}

q

F

5

("}

ñ

-1

(6)

ivfaie

Ensernble

_Northwest

_Vocalises

submitred

by:Dr.

Howard Meharg, conductor

This exercise I stole from Robert Shav.

Begrnürg wiú a mtnor rhi¡d. rhe choir sings

"oo" on tlre lower pirch. moving up ro "ah' rwrce,

ending on the origrnal pileh. The ex€rcise is rep¿ated singing a perfecr 4t¡, then a perfect fifth then a dir¡inished fifth. perfecr &h, ending

n

¡.i

on tlrc minor 3rd. So¡rre tinres I go ro a najerr or

LA .

m¡norsecond.

O0

Ah elc.

Shay lnd w close our eyes a^'rd slowly tum wnrle smBlng to concEntratB on tbe ¡cousuc

in which wc ware singing. Ttte obj€ct is to get üe choir to nmvc bet*een th¿ vor¡els and pitches smoothly, lherefore the choir wo¡ks

o¡l supporr intonaüoq andwiñcatio¡ of

vcwel :¡ound.

32.

Th¡s exercise is des'igneel to hslp thc s¡udent

bee onr famiiia¡ r¡irh the muscles ú¡¡r helo ra

lin the sofi paiate at úe back of r}e drroa¡. Yüu stafl on "ng" purtlng as much air thrcugh the oose 3s possibl¿. As you open to ''aw" i:e awa¡e

of what is happening ar the brck of the rhroar.

As you finish "aw" lteep the soft palale lifled ar¡rl begrn a siow l¡re¡th. While the ürott is süil

helcl open begin t}e f¡ve n$te decendng scale.

30. iaw

This next exerctse is designed to help ttre student

ma¡nÉrn breaú coriFo[ throug]rout the phrase and to becom¿ a*ar¿ of üe dilphragmauc musculamn. As you ilng the ascendi¡g line of "va v€e va*" tr¿ -.ure ro srng through e¡ch "ved'sound by iegenüer:ng e¡ch "v". Do nor rrrmrk rhe "v" sound üereby rlestroying üc line_ Sing each new "haw'' ürh a shon and detached sound.

l'ou should h¿ve a stroüg sensation of your dmphragm at

work dunng these notes. The last "h¿w" si¡ould be sune in

a coGnected style as is rhe re$t of the eKercise.

(7)

3 _{| ' o*}

_{ior legrm. relilr¿{ion. $rd}i*r{ Áotes idere rdrrryJ

36. -'e

.,--.i*

+

y¿;] 't ft

3t.

Us* i:rig.hl "cc' vilrr,ri Ur ggi tofwiríi piil;t*rcr,t t¡ltlt \gei ¡irjijÍii:..J rli \1:s¡j

-€

lglr -

m¡Ír

(8)

{sscend or descend by *eps or hdf srcps)

Cha¡gc vorrvcl as vou'.vish.

Work n keep spacious sensario¡ i¡ ''back of tl¡roat,'

a¡d use ":gice" as buz,mg ironral focus

device-42.

-

Nah

'

Noh

Work for space and focus usr*g 'Nn" sound.

--*--;

Nah

ascenüdescend

43.,*P

up/down

Prernd like you are preparing lo "sneeze" Sensation of lifting the palate _{for

beginning sitrgen particularly).

Other exercises:

J

)

ftqy

descending gliss on

"Coo"

srarting

at F4

and

ascending

by half

steps

to

C5.

2) Slow downward

'and_upward

gliss oscillatian

of

a

P5

staning

at

F4 down

to Bb3

and

back up to F4.

and

ascending by half

steps to

c5

dów,n

ro F4

and

back up to C5.

3) SIow downward

and

upward gliss oscillation

of

a

P5

starting

at

F4 down

to Bb3 and back up to F4.

and

descending by half

steps

to A3 down to D?

and

back up to A3.

4l

slow

downward

and

upward gliss oscillation

of

a

P8

starring

at

F4 down

to F3 and back up to F4, and ascending by

half

steps

to C5 down tc C4

and

back up to C5.

5) Slow downward

and

upward gliss oscillatiou

of

a

P8 starting

ar

F4

dclwn

to F3

and

back up to F4

and

descending by

half

sreps

to D4 down to D3

and

back up to D4.

6)

Sing the syllable

"Coo" with

slight articulations rhrough

the

excercise

54321?34531. Start on

Bb

major

with

the

first

pitch of F4,

descernding

by

(9)

uiher

Coilese

Voc

Dr.

Tím

Petefionrluctor

alises

ffi

(10)

+J.

---Lr-.

.l-::.

. ..1i -::'.:'.::f.' r "

-':':=

46. :al

:ü.

I

-a

a

-

_a.

(11)

+f.

::ü{*ffi

:-,-'----'--i---i r-+.--4F...,,...-.r*-:

e¡l

AI

É+u.

ft.

t

é aJ

a'

8 ,

U.--ü

(12)

47. ícont',ii

F.

t-..'-"" 1''T' t*

-),.'

Jh-li

48.

:_t_

-':"'----ff:;::-T-:l¡¡:

. r '..-.-_*:f:

-

::;;::-; 'f ' '--¿ e J' ;:Br - lrrh zír I

\

I

,r1y lub ?al - ¡ilb ,-1Y - luh ¿ar' l0h ¡*t iuh ¿ry

(13)

s

\¡^l

t

o

ü

,_a

(14)

49. South

Dakota

State

tlniversity

Dr. Charles Canaan. conductor

A

Warm-up using the do.mr-so-{do) intervals of the major scale. !ü'e use wcrds such as; O

I

love to sing, or Al-le-lu-ia, You are late to"day!. Tell us why you are. etc.

The open vowels are gocd reminders af the

ya*ting

feeling necessary tbr resonance .

This is

just

a major scale. On the descending portion the various sections hold spccifrc pitehes to spell out the major

chord.

You can use any rnufral vowel sounds you

like.

I

like to use it at the beginning of the year to let üem hear the four-pan rnale cborus sound; also it helps to adjust the balance between the scunons.

50. T-II

B.II

^

B-I

This exercire makes use of the intervals do-mi-so-mi-so-mi-do, either in m4jor or minor

keys.

You begrn with the bnghter

ii)

vowel and ¡ncve toward the darker {a)

vowel.

It helps to teach the conccpt of the

forward placement to the darker vo'wris.

In this exercise ha.lf the vorces move up in thirds on quarter notes. the other half of the voicrs sing the ascending rnajor scale in half notes. Tbe result is that on every otlrcr beat they need to listen careful¡y fbr the unison. and on tbe other note

thfy

work on kceping the ascending third interval high and in tune. Each voice part may táke turn srnging the half and quafler notc portions.